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1: Have more focus on the fact he’s grieving. His grief is brushed over so fast in my opinion. Obviously I don’t want CS suffering and being depressed the whole time but it just felt odd he loses his sister and getting candy suddenly fixes that ( besides one mention of him “missing someone” ) . I feel like he should’ve been a bit grumpy or upset with Amanda and Wooly for stopping him when trying to call Joanne or something . I understand they have Amanda and him relate to each other but I still felt more could’ve been done with it.
2: Have him actually survive at the end. I understand not all the victims could survive but with all CS went through it’s just heartbreaking . I almost feel like they killed him off because they realized he would have no family to go back to but he could’ve stayed with Riley .
3: Don’t just make him someone for wooly to bully. Yes wooly is the antagonist I understand , that but having a child character repeatedly get picked on and insulted is so uncomfortable to watch and at times it felt like CS was only in the game to get treated poorly . I liked that CS was there to be an actual friend to Amanda but other times it just felt like he was there to be picked on.
4: have us learn about his past . Could’ve had him try to communicate with Amanda by learning to speak or have him draw pictures to communicate, I feel like there also should’ve been a flashback scene or a tape showing him at Hameln ( since Rebecca got live action tapes)
Hello and thank you for visiting our page. My name is Kristina and I am helping raise funds for Alaa, a single mother in Gaza trying to surv
Hello friends,Please, I am asking for your help and support. My fundraiser is moving very slowly, and my daughter Fatoum is very sick. As you can see in the photos, she has developed a bacterial infection caused by insects and the harsh weather conditions.Her condition is getting worse every day.
We are living through the horrors of war in every possible way. Every day there are innocent children and civilians being killed. My daughter is an orphan. She lost her father in the war, and I do not want to lose her too.
Please, if you can, support and help us. I am only trying to provide the most basic necessities of life for my family and get the care my daughter needs.Any donation, no matter how small, can make a real difference.Please don’t ignore our plea. 🥺😭💔
My name is Hisham, a 26-year-old young man from Gaza. Like any young person, I dreamed of a simple job to achieve my goals and build my future step by step, but the war turned all our dreams into rubble. We were displaced many times, carrying our homes on our shoulders, leaving our memories under the debris.
My family now lives in a tent with no stable shelter, my sister Jana has no school, and I have no steady job. My brother Kamal carries the burden of the entire family, working every day to secure just enough food, while I search for any work, no matter how difficult or dangerous, just to survive.
My mother, the beautiful dream we once cherished, wished for a calm and happy life for us, but the war tore us apart and shattered our hopes. As for Jana, my innocent sister, she lost her school, her books, and even her sense of hope, yet she still writes her dreams on small pieces of paper, hiding them in her torn clothes so they won’t get lost like everything else.
We are not asking for the impossible, only what keeps us alive with dignity and gives us a chance to rebuild our lives. Every donation, no matter how small, means so much to us. Your support will give us hope to keep going and try again. 🙏❤️
Subject : Collecting money for my mother's operation in her back
Current process :
USD 2,563 / $3,563
Vetted by @sar-soor
Vetted by @opencommunion
Vetted by @el-shab-hussein
I am raising funds to support my elderly parents who are currently living in extremely difficult condition… Mohammed H needs your support f
💔 My Mother’s Life Depends on Your Kindness
My mother is in Gaza, where every day is a struggle to survive. Some time ago, she was injured when shrapnel from nearby shelling struck her back. She tried to endure the pain for as long as she could, but her condition has become much worse. She is now suffering from severe exhaustion and constant pain.
After seeing a doctor, we were told that she urgently needs emergency back surgery. The doctors warned us that the operation should be performed within the next 7 days to prevent her condition from deteriorating further.
The cost of this life-saving surgery is $1,000.
For many people, this may seem like a manageable amount. But for my family, trapped in the devastating conditions in Gaza, it is impossible. Every hour that passes brings more pain, more fear, and the risk of losing my mother.
I am begging you from the bottom of my heart: please help us save her.
Every donation, no matter how small, brings us one step closer to giving my mother the surgery she desperately needs. If you are unable to donate, please share this post with your friends and family. Your support could reach someone who is able to help.
Please don’t let my mother’s condition become another tragedy that could have been prevented.
Thank you for your kindness, your prayers, and your compassion. ❤️
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In this scorching summer, our tent has become an unbearable place to live. The suffocating heat fills it throughout the day, leaving us with no shade to protect us and no breeze to bring relief. When night falls, another struggle begins as rats and insects spread throughout the tent, stealing our children's sleep and filling their hearts with fear. Every day, we endure the relentless summer heat and the dangers of these harsh conditions. All we hope for is a safe shelter that preserves our dignity and gives our children the chance to live in safety.
"The Alaa family lived a peaceful and stable life in their beautiful home. Alaa and her… Ola Moh needs your support for Help Ola’s Family Fi
✅Vetted by @gazavetters, my number verified on the list is (#514)✅
My name is Maram, I am 25 years old from Gaza. I dreamed of a peaceful life, spending my life with my husband and my three children... but the war turned this dream into an impossible one 💔😭. We lived through this genocide with all its painful details and we are still suffering from it😭. We were so happy when the ceasefire was announced, and we returned to our homes in northern Gaza after being displaced for a year and a half in a tent in the south of the Gaza Strip. After repairing a small room in our destroyed house, we began to live there and start over. Unfortunately, the war came back, and it was even stronger than before 💔. Now, we have no shelter or source of income. We have used up all our savings during the war. I know I created my campaign very late, but that's because I have no other means to help my family 🙏. I am completely confident and hopeful that someone here will help us as much as they can and save my family in these tough circumstances 😔.
I know how painful and frustrating it is to start over from scratch, but I hope to get any amount for my family 🥺🙏.
My name is Maram, a Palestinian woman from Gaza. I am 26 years old and a mother of three children: Malik (8 years old), Ibrahim (6 years old
So, please, donate to my campaign, even if it's a small amount—it will have a big impact on us 🥺. May God bless you, my friend 🥰❤️.
I know that sounds harsh, but it's the truth I'm living Right Now😔
I keep wondering how many more times I'll have to ask before someone hears our cry for help. While you're reading this... she's lying in a hospital bed waiting... struggling... fighting for her life.
The doctors told us the truth we were terrified to hear: If she doesn't get this surgery immediately, we could lose her... forever💔
We only need $833. That's it. Not something impossible. that small amount... is the difference between life and death 😔
$833 might not mean much to some people... But to me, it means hearing my mother's voice again. It means seeing her smile. It means she gets another chance to live.
So let me ask you something honestly..
If this were your mother and her life depended on $833... would you close this post and keep scrolling?Or Would you tell yourself "someone else will help"?
Because that's exactly what everyone is thinking right now. And that's how people die. Not because they couldn't be saved... but because everyone assumed someone else would do it. Please... don't be the person who saw this and did nothing.🙏💔😔
I am not asking for luxury or comfort. I am asking for the chance to keep my mother safe. I am asking you to help us before we lose her. If our story reaches your heart, please don't leave without doing something. Your kindness today could be the reason my mother receives her medication in time🙏
Just $833... standing between her life and death. Don't think someone else will help... because right now, no one has. 🙏
We no longer have the strength to endure what is happening to us.
This is one of the worst tragedies in history.
Please speak up for us. Share, comment, and let the world know that two million people are suffering every day.
I’m not only trying to survive…
My father is sick, and I can’t afford his treatment. Watching him get worse while I can do nothing is breaking me.
I just need to buy medicine and food for my family.
📌📌📌Fundraiser vetted (#167 by el-shab-hussein & nabulsi), But we created a new GoFundMe page because GoFundMe suspended the beneficiary’s account on the platform, which put us in a very difficult situation.
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The Prisoner (1967) is about what happens when someone who has been groomed, lauded, and protected by the death cult of whiteness chooses to denounce the system that shaped them and has to face the cosmic horror of continuing to live under that system, among people who constantly attempt to re-impose its false reality upon him. It’s about the monumental task/responsibility of doing everything in one’s power to shatter the facade, and convince these people that they’re the wardens of their own prison, and also have the power to resign, like he did. But time and again, they choose not to. They choose the Village. They like the Village. The Village is killing them. The Village has made them numbers and chess pieces, but they reason it’s easier to stay the course laid out for them than attempt to forego it. And all the while, they ask him why he resigned—why he keeps attempting to escape. They violate him repeatedly—intimately—to find out WHY. And he refuses to tell them not only to protect his last vestige of autonomy, but because they could never truly understand. He has to make them see it for themselves. But when he tries to raise his voice, when he uses the platform which they’ve handed him (because as much as he’s violated, he’s still protected by the Village—they can’t let him die, can’t damage the tissue; he’s an asset to them all the same), he’s drowned out by a chorus of “I’s/i’s/eyes,” because in the Village, everyone is Number One: the leering face behind the mask of this society: the voyeur and surveilled: the jailer and the prisoner.
This is a very interesting take and you have already said it well enough. I’ll just ramble a bit because I’m not white and even though whiteness isn’t necessary restricted to skin color, I’ll just assume that I’m more willing than some other people to talk about certain topics.
The white audience of The Prisoner in 1967 was used to seeing McGoohan as a spy in Danger Man for the previous seven years. There were probably many reasons why it was popular, but one of them was certainly that the protagonist was a handsome white man who was out there to “save the world”.
I’m going to assume that many TV shows of the time up until The Prisoner weren’t made to give the white audience a bad feeling about themselves.
What questions could the white audience have asked themselves after watching The Prisoner that might lead them to question their whiteness? I have thought of a few.
1) Who benefits from the Village being the way it is? What promises are being made to me, the Villager? What does the propaganda tell me about myself and “the others”? Why are they so afraid of “the others”? What threats to they pose to the Village?
Do I know who I am outside of the Village? Do I know who the others are? What is the relationship between us based on?
Who am I without what the Village considers an enemy? Who am I without a sanitized version of myself that I am supposed to be comfortable with?
2) What are the human costs of maintaining the Village? Who are resisting and why? What options do they have for resisting? What options do they have when they do not resist?
Am I the prisoner? Am I the warden?
3) What is my “value” to the Village? What happens if I no longer “contribute” to the Village?
What compromises am I making? What decisions am I allowed to make? What impact do my decisions have? When will I become a threat to the Village?
I’m not sure what questions McGoohan asked himself, but he insisted on every possible occasion that his audience asks themselves questions. Well, I hope they do.
The Prisoner (1967) is about what happens when someone who has been groomed, lauded, and protected by the death cult of whiteness chooses to denounce the system that shaped them and has to face the cosmic horror of continuing to live under that system, among people who constantly attempt to re-impose its false reality upon him. It’s about the monumental task/responsibility of doing everything in one’s power to shatter the facade, and convince these people that they’re the wardens of their own prison, and also have the power to resign, like he did. But time and again, they choose not to. They choose the Village. They like the Village. The Village is killing them. The Village has made them numbers and chess pieces, but they reason it’s easier to stay the course laid out for them than attempt to forego it. And all the while, they ask him why he resigned—why he keeps attempting to escape. They violate him repeatedly—intimately—to find out WHY. And he refuses to tell them not only to protect his last vestige of autonomy, but because they could never truly understand. He has to make them see it for themselves. But when he tries to raise his voice, when he uses the platform which they’ve handed him (because as much as he’s violated, he’s still protected by the Village—they can’t let him die, can’t damage the tissue; he’s an asset to them all the same), he’s drowned out by a chorus of “I’s/i’s/eyes,” because in the Village, everyone is Number One: the leering face behind the mask of this society: the voyeur and surveilled: the jailer and the prisoner.
This is a very interesting take and you have already said it well enough. I’ll just ramble a bit because I’m not white and even though whiteness isn’t necessary restricted to skin color, I’ll just assume that I’m more willing than some other people to talk about certain topics.
The white audience of The Prisoner in 1967 was used to seeing McGoohan as a spy in Danger Man for the previous seven years. There were probably many reasons why it was popular, but one of them was certainly that the protagonist was a handsome white man who was out there to “save the world”.
I’m going to assume that many TV shows of the time up until The Prisoner weren’t made to give the white audience a bad feeling about themselves.
What questions could the white audience have asked themselves after watching The Prisoner that might lead them to question their whiteness? I have thought of a few.
1) Who benefits from the Village being the way it is? What promises are being made to me, the Villager? What does the propaganda tell me about myself and “the others”? Why are they so afraid of “the others”? What threats to they pose to the Village?
Do I know who I am outside of the Village? Do I know who the others are? What is the relationship between us based on?
Who am I without what the Village considers an enemy? Who am I without a sanitized version of myself that I am supposed to be comfortable with?
2) What are the human costs of maintaining the Village? Who are resisting and why? What options do they have for resisting? What options do they have when they do not resist?
Am I the prisoner? Am I the warden?
3) What is my “value” to the Village? What happens if I no longer “contribute” to the Village?
What compromises am I making? What decisions am I allowed to make? What impact do my decisions have? When will I become a threat to the Village?
I’m not sure what questions McGoohan asked himself, but he insisted on every possible occasion that his audience asks themselves questions. Well, I hope they do.
The Prisoner (1967) is about what happens when someone who has been groomed, lauded, and protected by the death cult of whiteness chooses to denounce the system that shaped them and has to face the cosmic horror of continuing to live under that system, among people who constantly attempt to re-impose its false reality upon him. It’s about the monumental task/responsibility of doing everything in one’s power to shatter the facade, and convince these people that they’re the wardens of their own prison, and also have the power to resign, like he did. But time and again, they choose not to. They choose the Village. They like the Village. The Village is killing them. The Village has made them numbers and chess pieces, but they reason it’s easier to stay the course laid out for them than attempt to forego it. And all the while, they ask him why he resigned—why he keeps attempting to escape. They violate him repeatedly—intimately—to find out WHY. And he refuses to tell them not only to protect his last vestige of autonomy, but because they could never truly understand. He has to make them see it for themselves. But when he tries to raise his voice, when he uses the platform which they’ve handed him (because as much as he’s violated, he’s still protected by the Village—they can’t let him die, can’t damage the tissue; he’s an asset to them all the same), he’s drowned out by a chorus of “I’s/i’s/eyes,” because in the Village, everyone is Number One: the leering face behind the mask of this society: the voyeur and surveilled: the jailer and the prisoner.
This is a very interesting take and you have already said it well enough. I’ll just ramble a bit because I’m not white and even though whiteness isn’t necessary restricted to skin color, I’ll just assume that I’m more willing than some other people to talk about certain topics.
The white audience of The Prisoner in 1967 was used to seeing McGoohan as a spy in Danger Man for the previous seven years. There were probably many reasons why it was popular, but one of them was certainly that the protagonist was a handsome white man who was out there to “save the world”.
I’m going to assume that many TV shows of the time up until The Prisoner weren’t made to give the white audience a bad feeling about themselves.
What questions could the white audience have asked themselves after watching The Prisoner that might lead them to question their whiteness? I have thought of a few.
1) Who benefits from the Village being the way it is? What promises are being made to me, the Villager? What does the propaganda tell me about myself and “the others”? Why are they so afraid of “the others”? What threats to they pose to the Village?
Do I know who I am outside of the Village? Do I know who the others are? What is the relationship between us based on?
Who am I without what the Village considers an enemy? Who am I without a sanitized version of myself that I am supposed to be comfortable with?
2) What are the human costs of maintaining the Village? Who are resisting and why? What options do they have for resisting? What options do they have when they do not resist?
Am I the prisoner? Am I the warden?
3) What is my “value” to the Village? What happens if I no longer “contribute” to the Village?
What compromises am I making? What decisions am I allowed to make? What impact do my decisions have? When will I become a threat to the Village?
I’m not sure what questions McGoohan asked himself, but he insisted on every possible occasion that his audience asks themselves questions. Well, I hope they do.
The Prisoner (1967) is about what happens when someone who has been groomed, lauded, and protected by the death cult of whiteness chooses to denounce the system that shaped them and has to face the cosmic horror of continuing to live under that system, among people who constantly attempt to re-impose its false reality upon him. It’s about the monumental task/responsibility of doing everything in one’s power to shatter the facade, and convince these people that they’re the wardens of their own prison, and also have the power to resign, like he did. But time and again, they choose not to. They choose the Village. They like the Village. The Village is killing them. The Village has made them numbers and chess pieces, but they reason it’s easier to stay the course laid out for them than attempt to forego it. And all the while, they ask him why he resigned—why he keeps attempting to escape. They violate him repeatedly—intimately—to find out WHY. And he refuses to tell them not only to protect his last vestige of autonomy, but because they could never truly understand. He has to make them see it for themselves. But when he tries to raise his voice, when he uses the platform which they’ve handed him (because as much as he’s violated, he’s still protected by the Village—they can’t let him die, can’t damage the tissue; he’s an asset to them all the same), he’s drowned out by a chorus of “I’s/i’s/eyes,” because in the Village, everyone is Number One: the leering face behind the mask of this society: the voyeur and surveilled: the jailer and the prisoner.
This is a very interesting take and you have already said it well enough. I’ll just ramble a bit because I’m not white and even though whiteness isn’t necessary restricted to skin color, I’ll just assume that I’m more willing than some other people to talk about certain topics.
The white audience of The Prisoner in 1967 was used to seeing McGoohan as a spy in Danger Man for the previous seven years. There were probably many reasons why it was popular, but one of them was certainly that the protagonist was a handsome white man who was out there to “save the world”.
I’m going to assume that many TV shows of the time up until The Prisoner weren’t made to give the white audience a bad feeling about themselves.
What questions could the white audience have asked themselves after watching The Prisoner that might lead them to question their whiteness? I have thought of a few.
1) Who benefits from the Village being the way it is? What promises are being made to me, the Villager? What does the propaganda tell me about myself and “the others”? Why are they so afraid of “the others”? What threats to they pose to the Village?
Do I know who I am outside of the Village? Do I know who the others are? What is the relationship between us based on?
Who am I without what the Village considers an enemy? Who am I without a sanitized version of myself that I am supposed to be comfortable with?
2) What are the human costs of maintaining the Village? Who are resisting and why? What options do they have for resisting? What options do they have when they do not resist?
Am I the prisoner? Am I the warden?
3) What is my “value” to the Village? What happens if I no longer “contribute” to the Village?
What compromises am I making? What decisions am I allowed to make? What impact do my decisions have? When will I become a threat to the Village?
I’m not sure what questions McGoohan asked himself, but he insisted on every possible occasion that his audience asks themselves questions. Well, I hope they do.
The Prisoner (1967) is about what happens when someone who has been groomed, lauded, and protected by the death cult of whiteness chooses to denounce the system that shaped them and has to face the cosmic horror of continuing to live under that system, among people who constantly attempt to re-impose its false reality upon him. It’s about the monumental task/responsibility of doing everything in one’s power to shatter the facade, and convince these people that they’re the wardens of their own prison, and also have the power to resign, like he did. But time and again, they choose not to. They choose the Village. They like the Village. The Village is killing them. The Village has made them numbers and chess pieces, but they reason it’s easier to stay the course laid out for them than attempt to forego it. And all the while, they ask him why he resigned—why he keeps attempting to escape. They violate him repeatedly—intimately—to find out WHY. And he refuses to tell them not only to protect his last vestige of autonomy, but because they could never truly understand. He has to make them see it for themselves. But when he tries to raise his voice, when he uses the platform which they’ve handed him (because as much as he’s violated, he’s still protected by the Village—they can’t let him die, can’t damage the tissue; he’s an asset to them all the same), he’s drowned out by a chorus of “I’s/i’s/eyes,” because in the Village, everyone is Number One: the leering face behind the mask of this society: the voyeur and surveilled: the jailer and the prisoner.
This is a very interesting take and you have already said it well enough. I’ll just ramble a bit because I’m not white and even though whiteness isn’t necessary restricted to skin color, I’ll just assume that I’m more willing than some other people to talk about certain topics.
The white audience of The Prisoner in 1967 was used to seeing McGoohan as a spy in Danger Man for the previous seven years. There were probably many reasons why it was popular, but one of them was certainly that the protagonist was a handsome white man who was out there to “save the world”.
I’m going to assume that many TV shows of the time up until The Prisoner weren’t made to give the white audience a bad feeling about themselves.
What questions could the white audience have asked themselves after watching The Prisoner that might lead them to question their whiteness? I have thought of a few.
1) Who benefits from the Village being the way it is? What promises are being made to me, the Villager? What does the propaganda tell me about myself and “the others”? Why are they so afraid of “the others”? What threats to they pose to the Village?
Do I know who I am outside of the Village? Do I know who the others are? What is the relationship between us based on?
Who am I without what the Village considers an enemy? Who am I without a sanitized version of myself that I am supposed to be comfortable with?
2) What are the human costs of maintaining the Village? Who are resisting and why? What options do they have for resisting? What options do they have when they do not resist?
Am I the prisoner? Am I the warden?
3) What is my “value” to the Village? What happens if I no longer “contribute” to the Village?
What compromises am I making? What decisions am I allowed to make? What impact do my decisions have? When will I become a threat to the Village?
I’m not sure what questions McGoohan asked himself, but he insisted on every possible occasion that his audience asks themselves questions. Well, I hope they do.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
✓ Live Streaming✓ Interactive Chat✓ Private Shows✓ HD Quality✓ Free Actions
Free to watch • No registration required • HD streaming
The Prisoner (1967) is about what happens when someone who has been groomed, lauded, and protected by the death cult of whiteness chooses to denounce the system that shaped them and has to face the cosmic horror of continuing to live under that system, among people who constantly attempt to re-impose its false reality upon him. It’s about the monumental task/responsibility of doing everything in one’s power to shatter the facade, and convince these people that they’re the wardens of their own prison, and also have the power to resign, like he did. But time and again, they choose not to. They choose the Village. They like the Village. The Village is killing them. The Village has made them numbers and chess pieces, but they reason it’s easier to stay the course laid out for them than attempt to forego it. And all the while, they ask him why he resigned—why he keeps attempting to escape. They violate him repeatedly—intimately—to find out WHY. And he refuses to tell them not only to protect his last vestige of autonomy, but because they could never truly understand. He has to make them see it for themselves. But when he tries to raise his voice, when he uses the platform which they’ve handed him (because as much as he’s violated, he’s still protected by the Village—they can’t let him die, can’t damage the tissue; he’s an asset to them all the same), he’s drowned out by a chorus of “I’s/i’s/eyes,” because in the Village, everyone is Number One: the leering face behind the mask of this society: the voyeur and surveilled: the jailer and the prisoner.
This is a very interesting take and you have already said it well enough. I’ll just ramble a bit because I’m not white and even though whiteness isn’t necessary restricted to skin color, I’ll just assume that I’m more willing than some other people to talk about certain topics.
The white audience of The Prisoner in 1967 was used to seeing McGoohan as a spy in Danger Man for the previous seven years. There were probably many reasons why it was popular, but one of them was certainly that the protagonist was a handsome white man who was out there to “save the world”.
I’m going to assume that many TV shows of the time up until The Prisoner weren’t made to give the white audience a bad feeling about themselves.
What questions could the white audience have asked themselves after watching The Prisoner that might lead them to question their whiteness? I have thought of a few.
1) Who benefits from the Village being the way it is? What promises are being made to me, the Villager? What does the propaganda tell me about myself and “the others”? Why are they so afraid of “the others”? What threats to they pose to the Village?
Do I know who I am outside of the Village? Do I know who the others are? What is the relationship between us based on?
Who am I without what the Village considers an enemy? Who am I without a sanitized version of myself that I am supposed to be comfortable with?
2) What are the human costs of maintaining the Village? Who are resisting and why? What options do they have for resisting? What options do they have when they do not resist?
Am I the prisoner? Am I the warden?
3) What is my “value” to the Village? What happens if I no longer “contribute” to the Village?
What compromises am I making? What decisions am I allowed to make? What impact do my decisions have? When will I become a threat to the Village?
I’m not sure what questions McGoohan asked himself, but he insisted on every possible occasion that his audience asks themselves questions. Well, I hope they do.
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